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Although the 1960s Golden Age established soul as the foundation of Afro-American pop, the 1970s and 1980s saw soul’s supremacy challenged and ultimately ended by, in turn, funk, disco, electro, dance-rock, hip hop and house. In hindsight, the soul music of the 1980s went into a form of stasis, waiting for a ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Rock and jazz guitarist Neal Schon, son of a jazz saxophonist and composer, was born in Oklahoma in 1954. A precocious talent, he learned guitar at the age of 10 and joined Santana at 15, turning down an invitation to join Eric Clapton in Derek and the Dominos. Schon made two albums with the band, Santana ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Few blues guitarists had more style and presence than Albert King (1923–92). At 6ft 4in (1.93m) and 250lbs (113kg), he cut an imposing figure onstage. Equally distinctive was his Gibson Flying V guitar, a right-handed instrument that King played left-handed and upside down. This gave him an unusual, tormented sound when he bent the strings on his fretboard. ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

Soul jazz stood out from other previous jazz forms. Its melodies were simpler and more rhythmic compared to hard bop, and influences from gospel and R&B were evident. In more traditional jazz forms, soloists would follow walking basslines or metric cymbal rhythms. In soul jazz, they followed a whole groove, which encouraged a different style of phrasing. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

One of country music's rare departures from down-home values, the urban cowboy phenomenon of the early 1980s was much more a fleeting trend, driven by commercial greed, than a genuine grassroots movement. The term ‘urban cowboy’ gained currency with the 1980 release Urban Cowboy, a hit Hollywood feature film of middling quality, starring John Travolta and ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

In 1949, two apparently small events took place, which in hindsight were to have monumental significance for popular culture. The first of these saw Billboard magazine change the name of its ‘Race Records’ chart to the more relevant and politically correct ‘Rhythm & Blues’ chart, reflecting the success of the American dance music of the moment. Meanwhile, ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

The story of soul’s Golden Age is linked with the story of two American record labels: Berry Gordy’s Motown and Jim Stewart & Estelle Axton’s Stax. They discovered artists, wrote songs and developed recording and marketing methods that would irrevocably change popular music, and have a profound effect on the perception of race all over world. Motown’s base in ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

This enduring British cult dance scene takes its name from the post-mod discos in the north-west of England where it developed, rather than the geographical location of the music-makers. Legendary disco venues like Manchester’s Twisted Wheel, Blackpool’s Mecca and The Wigan Casino, are still spoken about in reverential tones by soul and dance connoisseurs. The reason northern soul ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Since the dawn of the jazz era, the appeal of pop music had become increasingly intertwined with the demands of the dancefloor. As 1960s rock and soul became ever tougher and more orientated towards youth and hedonism it was only a matter of time before someone would come up with the ultimate dance groove. That someone was soul’s greatest innovator ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

By the 1970s, the new sound of funk dominated Afro-American music. Jazzers such as Miles Davis and Herbie Hancock scored their biggest commercial successes by incorporating its hip-grinding rhythms into what became known as fusion or jazz funk, while soul acts enjoyed a second wave of popularity as funk provided the bridge between the soul and disco eras. Fuelled ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Although contemporary R&B prefers to align itself with its ruder and more street-credible cousins in hip hop, the roots of its mainstream practitioners lie firmly in manufactured pop. In a throwback to the Motown era, R&B has become a global phenomenon by combining producer-led factory formula with a high level of musical innovation and adventure. This balance of pop ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(Vocals, guitar, b. 1967) New Zealand-born, Australian-raised, Keith Urban represents the slick, rock-slanted visual side of Nashville. In 1988 Urban formed a three-piece band in Australia and gained a good following, signing with EMI Australia in 1990 before making the leap to Nashville in 1992. There he formed The Ranch and signed with Capitol. His ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocal/instrumental group, 1992–present) Formed in Georgia, USA by Ed Rowland (guitar, vocals), brother Dean Rowland (guitar), Ross Childress (guitar), Will Turpin (bass) and Shane Evans (drums). Helped by the ripple effect of the Seattle grunge movement, their hook-laden 1994 single ‘Shine’ became an American hit securing a willing audience for the band’s intense but melodic rock. Hints ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

The very name, ‘Classical Era’, speaks for itself: it proclaims a period that is regarded as ‘Standard, first-class, of allowed excellence’, with manifestations that are ‘simple, harmonious, proportioned, finished’, to quote a dictionary definition. The period from 1750 to roughly 1820 is widely recognized as one of exceptional achievement in music – it is the ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

The writing and performance of Baroque music and opera relied heavily on wealthy patrons, who often employed musicians in their private orchestras and opera houses. Among these patrons were the aristocratic Barberini family, who made their fortune in the Florentine cloth business. Moving to Rome, the Barberini became one of the city’s most powerful family dynasties. Maffeo Barberini ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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